Spoilers ahead…
Gabbar Is Back, directed by Krish (and based on an original story by AR Murugadoss), keeps making us think it is the real deal, a real masala movie. We see dabbawalas. We witness a lavani performance. We step into a barbershop. In other words, we see not Mumbai but Bombay, which is always a good sign in a masala movie. But there’s always something missing.
There’s something missing in the dialogues. There’s just one nicely shaped line, when the villain (Digvijay Patil, played by Suman Talwar) looks at the hero (Akshay Kumar’s Aditya) and sneers, “Suna hai evidence ka file ko mashaal banake ghoom rahe ho,” that he’s brandishing a file filled with evidence (against Patil) as if it were some kind of torch. It’s not just that the metaphor is apt. The line also foreshadows Aditya’s transformation into a crusader named Gabbar. But otherwise, there are no memorable lines, and even the ones that begin promisingly (“Puraani sharaab aur puraani yaadein…”) end with a whimper. And some make no sense. There’s one that says the System is like a diaper… kabhi dheeela, kabhi geela. Loose? Wet? Wouldn’t the line pack more power had the diaper analogy been taken to its logical conclusion and said our System was full of shit?
There’s something missing in the item song. The last time Akshay Kumar acted in a film produced by Sanjay Leela Bhansali, we got the awesomely raunchy Aa re pritam pyaare. This one’s a poor relation. It has Chitrangada Singh either (a) flaunting her sexuality and making a statement that she’s not to be relegated to “serious” roles (note also her item song in Joker), or (b) making a rock-solid case that good parts for unconventional-looking actresses are so hard to come by that you have to take up whatever comes your way. I’m leaning towards (b). And I’m thinking about Mahie Gill, who was downsized from heroine to moll in the span of a few years, from Paro in the Devdas update to Mona Darling in the Zanjeer update.
There’s something missing in the Shankar™-style flashback. This sort of flashback always involves the loss of a loved one, and in Ramana, the Tamil original, Simran played the part. She was dressed in saris. She was heavily pregnant. She looked like the kind of housewife who’d run around like a headless chicken in the morning and breathe a small sigh of relief when husband and kids left, and then unwind with a dumb movie on some random channel. In other words, even without much screen time, the archetype gets to you, and when she dies, you feel something. When Kareena Kapoor dies in the Hindi version, you feel nothing. She’s not playing a wife. She’s playing up her glamorous image, pouting incessantly and giving come-hither looks to the audience and to Akshay, in that order. She could be starring in a condom commercial. This is not the kind of flashback that births vigilantes.
There’s something missing in the characters. One of the hallmarks of the masala movie is the singular trait that defines its inhabitants – Sholay’s Basanti is a chatterbox, and so on. Here, Shruti (Shruti Haasan) likes to quote facts from Google. I think she means Wikipedia. Google’s a search engine, and it doesn’t have facts unless you type in a search term and go to a site which has those facts. A site like Wikipedia. But I am putting way more thought into this than the writer put into Shruti’s character. There’s no real payoff to this trait like there was to Basanti’s, because when Imam Saab’s son died, the extent of the tragedy was evident not just by the fact that the village went silent but that Basanti went silent. But those days of masala screenwriting are gone, and we have to settle for facile touches like this Google-quoting girl. Like the English-speaking constable (Sunil Grover). Like the meaningless “I am a brand” declaration from the villain.
The Sholay reference isn’t accidental. The title of this film, after all, references that film’s villain and the fear he invoked in the people around. We’re asked to believe that Aditya invokes that kind of fear in the corrupt, against whom he leads his vigilante crusade. But Akshay is too low-key a masala presence. The scene where he walks into the police station when cops are still looking for him; the scene where he addresses thousands of students from atop the police van that’s taking him to trial; the scene where he gives a lecture about the five fundamental forces (bending, shear, etc.) and demonstrates them while bashing up goons – these are great masala scenes in search of a great masala actor.
There’s one halfway-decent moment involving the kidnapping of a minister using masks. But the rest of Gabbar Is Back suffers from the attitude Bollywood has towards masala cinema, which is that of a rich man who has to accommodate a poor relation simply because the latter is also mentioned in the will. Masala movies bring in the big bucks, but they’re not “cool.” And to add the cool factor, these films keep winking at things that should be taken very seriously. Whatever the characters may be saying on screen, you constantly hear this line in your head: “I know this is ludicrous stuff, but hey, it’s kinda fun.” That attitude works in the films Farah Khan makes, not here. The title Gabbar Is Back merely indicates the return of the bogeyman, not the return of the glorious masala cinema of his era.
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
MANK
May 11, 2015
making a rock-solid case that good parts for unconventional-looking actresses are so hard to come by that you have to take up whatever comes your way. I’m leaning towards (b)
True words have seldom been spoken. Its the same curse thats befallen other talented actresses like Huma quereshi, nimrat kaur, richa chadda, even someone like Parineeti chopra doesnt seem to be exempt, going by the backlash she has been receiving for her appearance and fashion sense in film and media.
When Kareena Kapoor dies in the Hindi version, you feel nothing. She’s not playing a wife. She’s playing up her glamorous image, pouting incessantly and giving come-hither looks to the audience and to Akshay, in that order. She could be starring in a condom commercial. This is not the kind of flashback that births vigilantes.
Absolutely, its same problem you mentioned in another post Brangan, the commercialisation of the hindi film heroine, just turning them to be models for brand products. Their physicality and body language has been altered to such an extend that have become like emotionless mannequins. Compare this with madhavi in Andha kanoon or Jayapradha in Aakhri raasta and you will see the difference. They are technically crude movies in today’s time, but they certainly convince us that their death could birth a vigilante. Of course they are helped by the fact that the vigilante is played by Amitabh – king of masala- Bachchan.
Reg: Akshay kumar, i think he made a better masala hero in his earlier part of his career you know mohra, main khiladi tu anadi, khiladiyon ka khiladi and so on, even though his dialogue delivery has always been poor. Don’t you think so?
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Akhilan
May 11, 2015
LOL @ Kareena Kapoor. IMO, she’s so overrated that it’s unbelievable how she’s still considered to be one of the premier heroines in Hindi cinema…!?!? I really enjoyed some of her initial career choices, particularly Chameli and Dev. While I also thought she was hilarious in K3G. But in the past decade, apart from say Jab We Met and Talaash, she has been part of cult classics such as Tashan, Kurbaan, Kambakht Ishq, Ra.One, Gori Tere Pyaar Mein, Heroine, Singham Returns etc. How is she still in demand BR…??
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munna
May 11, 2015
“There’s one halfway-decent moment involving the kidnapping of a minister using masks.”
The Thomas Crown Affair has a similar scene.
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bong
May 12, 2015
Maybe director and script writer read this review and over come all the mistakes they made in their next.
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sanjana
May 12, 2015
It is more about looks for bollywood and they have plenty of them. Very pretty girls with very fair skins with model like looks. And every year Miss India contest gifts a number of models. Aishwarya Rai is the most famous example who is not accepted as a great actress till now. Kareena Kapoor, Deepika have occasional good roles but they are nothing but models.
Long back KB realised this when he took Rati Agnihotri instead of Sarita and retained Kamal for Maro Charitra remake.
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Anon
May 12, 2015
Akhilan: In my opinion, Kareena is in the same category as Vijay (the illaya thalapathy, I mean) There is something there, maybe some effortless charm and potential buried under all that lightweight exterior and inexplicable career choices, that’s probably kept their careers going (in Vijay’s case of course that is an understatement, box office has favored him more generously) Nothing else can explain why they seem to click …
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Gargi Mehra
May 12, 2015
Kareena Kapoor and most of the star kids are around only because of the family name. I agree with Sanjana – it is more about looks for Bollywood. Deepika was quite good in Piku, but apart from that I’m not sure which gorgeous actress has delivered a stunning performance in recent times.
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Anon
May 12, 2015
Gargi – Agree that being star kids helps and yes, immensely. But what then of Fardeen Khan, Esha Deol and the like? They are star kids too with famous surnames. I think you still need some basic level of ‘talent’ and a connect with the audience to survive in an industry as ruthless as this. (which I think people like Vijay and Kareena have to some degree)
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MANK
May 12, 2015
Anon, you have to be absolutely pathetic like Fardeen, zayed khan or Harman Baweja to fail as star kids.even a a very limited performer like Arjun Kapoor is praised to the skies and hyped up as the next big thing.I think the comparison between Vijay and Kareena is unfair. I believe Vijay is a genuinely talented performer who has a connect with the audience.He is what i call a true blue star performer in line of actors like Dev Anand,Shatrughan sinha or Rajnikanth whose emphasis is on style and attitude rather than on dramatic depth. Its just that he does such terrible films. But you just watch Thuppakki and its hindi remake . Vijay has the ability to pull of a what i consider an average film with his style and attitude and make it an entertaining affair.The hindi version with Akshay is a total bore fest. you cant credit Kareena with anything like that. Her greatest success is that she has been able to get into all those camps run by major stars and directors.
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sanjana
May 12, 2015
Dialogue delivery and voice quality in hindi, tamil or any language makes the star fully complete package.Unless the star in question is someone extraordinary.
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sanjana
May 12, 2015
Her greatest success is that she has been able to get into all those camps run by major stars and directors.
And she has some talent too. I liked her in Talaash and Jab We Met. And Hirani will not take any altu faltu actress. Her dialogue delivery and voice quality are on par with the best. And she proved herself in her very first film Refugee with Abhishek Bachchan. Post marriage, she is still in demand. And she had Omkara which is not a frivolous role.From arty directors to commercial directors, they have chosen Kareena over others.
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Gargi Mehra
May 13, 2015
I agree with MANK. Arjun Kapoor is the first name that popped into my head when I thought of star kids getting away with passable performances. If it wasnt for the surname I’m sure Sonam Kapoor should’ve been retired ages ago!
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K.
May 15, 2015
“In other words, we see not Mumbai but Bombay, which is always a good sign…”
WHY IS BOMBAY VELVET REVIEW TAKING SO LONG PLEASE DO FAST AS POSSIBLE
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